Mahavishnu Orchestra - Apocalypse (1974)

Power of Love

Vision is a Naked Sword

Smile of the Beyond

Wings of Karma

Hymn to Him.

John McLaughlin- guitar

Jean-Luc Ponty- violin

Gayle Moran- keyboards and vocals

Michael Tilson Thomas- Conductor and piano

Marsha Westbrook- viola

Carol Shive- violin, vocals

Philip Hirschi- cello, vocals

Michael Walden- drums

Ralphe Armstrong- bass, vocals

London Symphony Orchestra.

By
WALTER KOLOSKY:
Wow! This 1974 recording had a great pedigree. First, you had Beatles producer George Martin. Then Michael Tilson Thomas, the young and gifted classical conductor, waving his magic wand in front of the London Symphony Orchestra. Jazz violin superstar Jean Luc Ponty stepped up as part of a newly expanded Mahavishnu Orchestra, and the teenage bass phenom Ralphe Armstrong more than capably held down the bottom end. Gayle Moran, Chick Corea's girlfriend, handled the keyboards and vocals, and Narada Michael Walden played drums. Last, of course, the guitar master Mahavishnu John McLaughlin, leading an Orchestra that was augmented by an impressive string section of its own. Producer Martin has stated in interviews that he considers this album to be one of the greatest he's ever produced. And that's saying a lot considering the landmark albums he produced for the Fab Four.

McLaughlin's compositional skills stand out on Apocalypse. Jean Luc Ponty made his debut with the Mahavishnu Orchestra on this album, and added energy to McLaughlin's inspired tunes. In a precious moment on "Hymn to Him," McLaughlin and Ponty achieve hyper stellar overdrive.

The true sleeper on this album is the opening "Power of Love." McLaughlin wields his acoustic guitar to front the LSO on this piece, a deliberate and uplifting tune. The remainder of the album features a highly charged McLaughlin. His electric playing is reminiscent of a finely tuned car engine: it purrs as smooth as a kitten, but can accelerate or stop abruptly when necessary. Ponty, McLaughlin's original choice for the first Mahavishnu Orchestra, really excels on Apocalypse. Years later he would say he probably left this band too soon. One only has to hear his musical interaction with McLaughlin to quickly agree.

The album does have one low moment, the misinformed "Smile of the Beyond". Despite some great playing on this tune, you have to suffer through a lengthy build-up which includes a vocal section. Moran's vocals are very nice, but because they are part of an overlong introduction, they are lost a bit. If McLaughlin had shortened the tune by three minutes, it would be a classic!

The London Symphony Orchestra deserves recognition as well. Yes, I know these guys would play just about anything for a paycheck. There was even some complaining about a few arrogant string players. But they did take advantage of these compositions and the orchestral arrangements, in which McLaughlin was greatly aided by Michael Gibbs. Many times on recordings like this—by Emerson, Lake and Palmer for example—the orchestra seems to be there for the effect only. In this case, the LSO had some really interesting things to say.

To perform this music live with a symphony orchestra was a nightmare. McLaughlin occasionally speaks upon the impossible technical requirements of the day, and in particular an unpleasant but eventually rewarding last minute experience with America's Buffalo Symphony Orchestra.

Steve Howe - Natural Timbre (2001)

01.Distant Seas (6:14)

02.Provence (4:00)

03.Intersection Blues (2:28)

04.Family Tree (4:29)

05.J's Theme (3:52)

06.In the Course of the Day (3:32)

07.Dream River (3:58)

08.Golden Years (4:35)

09.The Little Galliard (1:22)

10.Up Above Somewhere (3:56)

11.Curls and Swirls (2:33)

12.Pyramidology (3:06)

13.Lost for Words (3:34)

14.Winter (Vivladi) (2:16)

15.Solar Winds (3:53)

16.Your Move (3:27)

17.Disillusion (1:41)

18.To Be Over (6:13).

Steve Howe - guitar (acoustic), banjo, bass, dobro, guitar, mandolin, percussion, autoharp, guitar (bass), guitar (12 String), koto, mandola, mandocello, Hawaiian Lap Steel guitar

Andrew Jackman / piano, Glockenspiel

Anna Palm - violin

Dylan Howe - drums.

Guitarist Steve Howe keeps himself busier than ever in middle age with both recording and touring. In addition to his main job in Yes, he works occasionally with Asia and regularly releases solo albums. 2001's Natural Timbre is his first entirely acoustic studio project, and it's a rewarding blend of styles and influences. Over the course of 18 songs, Howe plays a variety of guitars, mandolins, basses, and other stringed instruments, and is joined on some tracks by violinist Anna Palm, multi-instrumentalist Andrew Jackman, or his son, drummer Dylan Howe. The progressive rock foundation of Natural Timbre is obvious, but new age, country, blues, jazz, and classical angles abound too. "Distant Seas" is a swaying, jazzy song for which Howe utilizes a Japanese koto in addition to guitars. A country-ish, Renaissance flavor is displayed on the perky "Provence." Distinctive, multiple guitar parts highlight the impressive "Family Tree." "Dream River" is a self-duet with Howe playing two main smooth, fingerpicked jazz guitar melodies. "Up Above Somewhere" is a soft solo acoustic guitar piece. A tight melody and a tense rhythmic feel propel "Lost for Words." "Winter" is the second movement of this portion of Vivaldi's "Four Seasons"; Howe arranged it for 12-string acoustic guitar and mandolin. Natural Timbre ends with three Yes songs, the best of which is an excellent reinterpretation of "Your Move" (part of "I've Seen All Good People" from The Yes Album); the other two are "Disillusion" (a segment of "Starship Trooper," also from The Yes Album) and "To Be Over" from Relayer. Guitar fanatics will love the liner notes, which include Howe's comments about each song and a detailed chart pinpointing the instruments he played on each one. ~ Bret Adams, All Music Guide

Hilton Ruiz - The Collected Hilton Ruiz (1999)

01.West Side Blues 6:43

02.El Camino (The Road) 6:19

03.The Sidewinder 6:17

04.Goin' Back to New Orleans 10:44

05.Doin' It Right 6:16

06.Slip Slidin' Blues 3:37

07.Scottish Blues 5:43

08.Cuchi Cuchi 5:37

09.A Moment's Notice 8:53.

Robby Ameen - Drums

Steve Berrios - Percussion, Timbales

Don Cherry - Trumpet

George Coleman - Sax (Tenor)

Kenny Garrett - Sax (Alto)

Andy Gonzales - Bass

Dick Griffin - Trombone

Rodney Jones - Guitar

Daniel Ponce - Bongos, Conga

Sam Rivers - Sax (Soprano), Sax (Tenor)

Ruben Rodriquez - Bass

Jimmy Rowser - Bass

Hilton Ruiz - Piano

Mongo Santamaría - Conga

Joe Santiago - Bass

Lew Soloff -Trumpet

Dave Valentin - Flute.

Review
by John Bush
The Collected Hilton Ruiz features with few exceptions the best of the pianist's excellent period with Jive/BMG, including four albums recorded between 1988 and 1991. The music is vibrant, unrestrained Latin jazz with plenty of solid originals by Ruiz and great Latin spins on Lee Morgan's "The Sidewinder" and John Coltrane's "A Moment's Notice." Lew Soloff's trumpet solos invigorate the first four tracks, while Don Cherry guests on the moody hard bop of "Scottish Blues" (taken from 1989's Doin' It Right). Though the compilers left out selections from the first -- and one of the best -- album recorded by Ruiz for the label, 1986's Something Grand, this is still a solid distillation of an essential period for Ruiz.

Hilton Ruiz - “Steppin’With T.P.”(Tributo a Tito Puente) (2005)

01.Cruizin whith Royal T.

02.Sanctiified Feeling

03.Jumping with Symphony sid

04.Newe Arrival

05.Peace

06.Ceora

07.Steppin with T.P.

08.East Coast Mambo

09.Mambo para Puente

10.New Arribal II.

Hilton Ruiz (Piano)

Yomo Toro (cuatro Guitar)

Dave Valentin (Flute)

Jay Hoggard (vibes)

Leon Dorsey (bass)

Geoff Brennen (bass)

Chembo Corniel (percusssion)

Willie MArtinez (drums).

It would have been odd if Hilton Ruiz had never gotten around to doing a tribute to Tito Puente. Both New Yorkers, Ruiz and Puente must have rubbed shoulders on many occasions. In 1990, in fact, Ruiz became a member of Puente's Golden Latin Jazz All Stars. And on Steppin' With T.P. there are other Puente alumni as well. The project is full of rich harmony and syncopation. The material is mostly all Ruiz' and, as such, this is a tribute in feel and spirit. It's got vibes, depth, mambo, class... and pure swing a la Puente.
With Yomo Toro, Dave Valentin, Chem.

Emilio Morales - Concierto Tumbao (2010)

01.Tata Guinness

02.Drume, negrita

03.Siempre te vas en las tardes

04.Con cierto tumbao

05.Los Tres Golpes

06.Martha

07.El manisero

08.Las perlas de tu boca

09.Mi mejor canción

10.Nica´s dreams

11.Emiliango.

Emilio Morales:Piano

Fabián García:Bass

Emilio del Monte:Timbales

Emilio del Monte Jr: Tumbadoras, botija, bongó de madera, marimbula, petites percussions

Enrique Lazaga: güiros, petites percussions

Participation de de Yasek Manzano (flugelhorn dans 'Con-cierto tumbao') et Sory (voix solo dans 'Siempre te vas' & 'La perlas').

Cuban pianist Emilio Morales Ruiz began working with the band Opus 13 with whom he had the opportunity to travel to the United States in 1980 with the Tropicana show. The show starred the singer Omara Portuondo, who played a number with the keyboard, a recent graduate. Since then he has built Paublo renowned orchestras such as FG y su Elite, NG La Banda, Havana Ensemble, Team Cuba and then the music project Buena Vista Social Club. After 11 years of study, now serves as a soloist.

David Torn,Mick Karn,Terry Bozzio - Polytown (1994)

01.Honey Sweating (5:45)

02.Palms For Lester (6:43)

03.Open Letter To The Heart Of Diaphora (4:36)

04.Bandaged By Dreams (6:53)

05.Warrior Horsemen Of The Spirit Thundering Over Hills Of Doubt To A Place Of Hope (5:01)

06.Snail Hair Dune (9:31)

07.This Is The Abduction Scene (3:09)

08.Red Sleep (4:27)

09.Res Majuko (3:42)

10.City Of The Dead (3:30).

David Torn / guitars, loops and processing, Hammond B-3, harmonica, fake Koto, tiny piano and voice

Mick Karn / fretless bass, bass clarinet, dida and greek voice

Terry Bozzio / drums, percussion, bodhran, dumbek, throaty french horn imitation and 12 notes on the piano.

 Recorded and mixed by Bruce Calder between June 25 and July 16, 1993 at White Crow Audio, Burlington.

By
Michael Stack

"Polytown" is one of those projects that you sort of hope would evolve into something more-- this trio, guitarist David Torn, bassist Mick Karn, and drummer Terry Bozzio, produced such a superb record of instrumental music that you couldn't help but wish there was a followup, but this is all we got.

And its quite a statement-- the three of them play together fantastically-- not a surprise given they'd worked together extensively-- the music has an improvised feel to it, even in obviously composed passages, the music has a nice looseness and spaciousness to it-- Bozzio in particular seem really open with his playing-- whereas most "rock" drummers (although calling this music that) tend to play themselves into a wall, space is critical on this record-- check out the brilliant "Snail Hair Dune" for a good example of this-- Torn and Karn largely play single note lines while Bozzio implies as well as states.

With this looseness, the album covers a number of sounds and feels-- the playing is superb, and there's really not a bad track on here, but some stand out-- the great "Honey Sweating", with Torn's guitar blasts, the slow, funky "Bandaged by Dreams" (with one of my favorite Karn basslines), percussion driven "Warrior Horsemen of the Spirit Thundering Over Hills of Doubt to a Place of Hope" and the simply brilliant "Red Sleep" all come to mind.

Any fan of either of these three gentlemen will love this album-- its certainly amongst the best work by each of them, but I'd recommend this to anyone who enjoys improvised music and great musicianship.

David Sanchez - Coral (2004)

01.Eu Sei que Vou Te Amar

02.Matita Pere

03.Vidala

04.Coral

05.Panambi

06.Elements II, The

07.Vexilla Regis

08.Cancion del Canaveral.

David Sanchez - Sax (Tenor)

Ben Street - Bass

Pernell Saturnino - Percussion

Edsel Gomez - Piano

Miguel Zenón - Sax (Alto)

Prague Philharmonic Orchestra Orchestra

John Benítez - Bass

Adam Cruz - Drums

Carlos Franzetti - Arranger, Conductor.

Coral is an entirely new development in David Sánchez's compositional evolution. The tenor saxophonist explores Latin classical masterworks on this exquisite recording released by Sony Music/Columbia. His seventh CD for the label, and his first with a symphony orchestra, is a nine-track offering that re-interprets such composers as Brazilian masters Antonio Carlos Jobim and Heitor Villa-Lobos, as well as Argentina's foremost representative of musical nationalism Alberto Ginastera. In addition to Sánchez's highly innovative core sextet bringing its versatile jazz improvisations to these songs, the performance is further buoyed by the City of Prague Philharmonic Orchestra's accompaniment. The orchestra heightens your listening pleasures with dramatic crescendos, rhapsodic concepts, and elegant melodies on such beautiful songs as "Eu Sei Que Vou Te Amar" and the graceful "Coral," while Sánchez and company take full charge of their jazz expressions on "The Elements II." Coupled with Miguel Zenón on alto saxophone, this song takes flight at the intro and segues into a burning solo by David Sánchez. They are definitely in-the-pocket and with each note Sánchez plays, he summons a deeper, more intense jazz spirit that helps create a unique and powerful illustration of both his and the composer's technical and stylistic prowess. By contrast, his mood on the sacred "Vexilla Regis" is emotionally powerful and serene. Alberto Ginastera's 1934 orchestral suite from his ballet "Panambí" (an early work from his Objective Nationalism style) is performed here with similar rhythmic contrasts and has a deep, meditative feeling that flows back and forth in a fluid motion. Overall, David Sánchez and the music have now proven themselves elsewhere and with this brilliant, substantial musical experience, Sánchez is poised to take his place among the great jazz musicians that continue to offer important personal and musical insights to their audiences. Coral is a necessity for any jazz or classical record collection. ~ Paula Edelstein, All Music Guide.

Danilo Perez - Providencia (2010)

01.Daniela's Chronicles (10:14)

02.Galactic Panama (5:04)

03.Historia De Un Amor (4:37)

04.Bridge Of Life, Part I (3:43)

05.Providencia (5:08)

06.Irremediablemente Solo (6:09)

07.The Oracle (Dedicated To Charlie Banacos) (5:07)

08.Bridge Of Life, Part II (1:52)

09.The Maze: The Beginning (1:38)

10.Cobilla (5:25)

11.The Maze: The End (1:25).

Danilo Perez: piano

Ben Street: bass

Adam Cruz: drums, steel pans

Rudresh Mahanthappa: alto saxophone

Jamey Haddad: percussion

Ernesto Diaz: congas

Sara Serpa: vocals

Matt Marvuglio: flute

Barbara Laffitte: oboe

Amparo Edo Biol: French horn

Margaret Phillips: bassoon

Jose Benito Meza Torres: clarinet.

By
JOHN BARRON,
Danilo Perez: Providencia

Inspired by the wonderment and challenge of contributing to a healthy future for his two daughters, Panamanian pianist Danilo Pérez presents an eleven-track suite of globally conscious music, fusing elements of jazz, classical and Latin American folk music. Providencia, Pérez's debut for Mack Avenue Records, is an ambitious project, incorporating his longtime trio-mates, bassist Ben Street and drummer Adam Cruz, with an eclectic cast of guest musicians. The result is a genre-defying foray into highly-structured compositions heightened by intense improvising.

A seamless melding of styles is evident on the lengthy opener "Daniela's Chronicles," a piece written for Pérez's eldest daughter that progresses through five buoyant movements. With a subdued undercurrent of rhythmic intensity, Pérez leads his band through the music with commanding control of the piano. Alto saxophonist Rudresh Mahanthappa brings a flurry of energy to "Galactic Panama," tossing solo lines back and forth with Pérez over an insatiable Latin-inspired groove, augmented by percussionists Jamey Haddad and Ernesto Diaz. Mahanthappa appears toward the end of the disc on "The Maze," a duet with Pérez in two parts. Here, the saxophonist is able to balance a harsh urgency with breathy lyricism.

Portugese-born, New York-based singer Sara Serpa, who specializes in wordless vocalizing, brings out the melodic strength in Pérez's writing. She floats effortlessly through the challenging theme of the title track. One of the more enticing tracks on the disc, Pérez takes advantage of the tune's melodic repetition to apply a countering barrage of piano showmanship. Another enduring moment from the session comes with the tender ballad "Irremediablemente Solo," composed by Panamanian composer Avelino Muñoz. The piece features the trio with bassist Street taking up the pensive melody with conviction.

As an organizer of the annual Panama Jazz Festival and the Fundación Danilo Pérez, an organization offering musical and cultural opportunities to disadvantaged youth, Pérez has become a musical ambassador for his native country. Homage to Panama is evident throughout Providencia, especially on the two-part "Bridge of Life," orchestrated for woodwind quintet and trio. The title refers to Panama's role as a land bridge between North and South America. With this disc, Pérez succeeds at creating a musical bridge between the intricate and visceral, inviting all listeners interested in forward thinking sounds.

Danny Gatton, Bobby Watson, Roy Hargrove, Joshua Redman - New York Stories (1992)

1.Dolly's Ditty

2.Wheel Within a Wheel

3.Ice Maidens

4.Out a Day

5.Mike the Cat

6.Move

7.Clear Thought

8.5/4

9.One for Lenny.

Danny Gatton: Guitar

Bobby Watson: Alto Sax

Roy Hargrove: Trumpet

Joshua Redman: Tenor Sax

Franck Amsallem: Piano

Charles Fambrough: Bass

Yuron Israel: Drums.

Already legendary for his country and rock and roll guitar mastery, the late Danny Gatton also released a pure jazz CD on Blue Note, "New York Stories." If there was any doubt that this incredible musician was capable of any style, any time, any place, this CD will put those doubts to rest and we will continue to mourn and lament the passing of one of the greatest guitarists in history. His suicide was provoked according to some theories by his poor record sales, and what a shame. "New York Stories" is actually a jazz combo effort with Gatton writing all or part of the tunes and sharing his time with a stellar piano and horn section. This is a jam session, and according to the liner notes, a limited amount of rehearsal was allowed to keep the tunes fresh and to allow the improvisational juices to flow.
It's smooth - so much so you almost want to take up smoking and don a fedora while you listen. It harkens back to the smoky dangerous days of the '40's and '50's, where down and dirty jazz emanated from grimy clubs in the bad parts of town. Yet at times the music is ethereal, such as the guitar tour de force "One For Lenny" that closes the CD.
The style here is reminiscent of Miles Davis' early years, ala "Walking" and "Someday My Prince Will Come" and perhaps a little Brubeck piano and sax tradeoffs.
Even rockers will appreciate the mastery on this session. "New York Stories" goes down like a cool drink on a hot summer afternoon, welcome as a surprise snowfall in July would be.

Cameron Mizell – Tributary (2010)

01.Tributary

02.The Bottoms

03.Sawdust Dive

04.Mississippi Mud Clerk

05.Ghost Town

06.Juniors Swamp Sauce

07.Another Old Fashion

08.Swell

09.The Return

10.Tributary (Epilogue).

Cameron Mizell – electric and acoustic guitars, glockenspiel

Brad Whiteley – Hammond B3 organ, synth bass, additional keyboards

Kenneth Salters – drums

with:

Erika Lloyd – vocals on Ghost Town

Lauren Zettler – vocals on The Return.

Produced by Cameron Mizell. Recorded by Eric Heveron-Smith at Seaside Lounge Studios in Brooklyn, NY on September 17 and 18, 2009. Editing and additional recording by Cameron Mizell. Mixed by Eric Heveron-Smith and Cameron Mizell. Mastered by Kevin Reeves at Universal Mastering Studios-East. Design by Philip Manning. Photography by Lauren Farmer.

Writing this music was an exploration of influence–artistic, cultural, and geographical. The album is dedicated to the city of St. Louis, where I was born and raised, and where so many incredible musicians, artists, and writers crossed paths or called home.

Thanks to: Jill, Brad, Kenneth, Mom, Dad, Erika, Lauren, Steve, Eric, Dave, Josh, Philip, Kevin, Rob, Alan, and everyone that’s contributed their support, talent, and feedback to this project.
About Tributary

Tributary is my third full length album, and the first I feel is an honest effort to create a complete work. To me, this isn’t just a collection of songs. Each tune is a tip of the hat to one or more of the musicians that have influenced me since I began seriously studying the guitar, and music as a whole. That journey started with jazz, but took me to funk, soul, hip hop, blues, Americana, folk, rock, country, and back. I’ve recently realized most of the music I love rests on the shoulders of Muddy Waters, Robert Johnson, and Charlie Christian.

Tributary is also a nod to St. Louis, Missouri, the town where I was born and raised. The city has an incredibly rich cultural history, largely because its location on the Mississippi and Missouri rivers allowed it to become the second largest port in the US during the mid 19th Century. Major travel routes that criss-cross the country have always stopped through St. Louis, bringing many musicians, artists, and writers to and from the city–not to mention the many who are from the area, including Miles Davis, Grant Green, and Chuck Berry. St. Louis has always been a music town, closely linked with jazz, blues, and rock & roll. However, there’s no defining genre associated to the city, like Chicago blues or Memphis soul, instead the music of St. Louis is very much a melting pot of styles from everywhere else–much like a musician funneling a wide range of influences into a personal sound.

I wrote the music for Tributary gradually during a two year period, introducing the tunes to Brad and Kenneth one at a time over the course of many gigs. The three of us broke them in and exposed the weak spots, giving me a chance to adjust the arrangements until they felt natural. The long incubation period also granted me time to realize my larger vision of composing tunes that fit together, borrow from each other, and hopefully paint a bigger picture for the listener.

Part of the bigger picture, for me at least, was to incorporate some of the sounds, textures, and people I’ve worked with in my other musical outlets. After two days of tracking the trio, I brought the tracks home and added some additional instrumentation. I also enlisted the help of two very talented singers to add some background vocals. Erika Lloyd, who Brad, Kenneth and I all play with in the band Little Grey Girlfriend, and Lauren Zettler, a singer/songwriter who I’ve been writing, recording, and touring with since ’08, contributed layered vocals on one track each. The sum of these parts has made Tributary truly representative of the last several years of my overall creative output.

Bernhard Lackner - In Between (2009)

01.Take Off Your Shoes (6:21)

02.The Next Step (6:35)

03.Maybe Another Time (6:17)

04.Twelve Years Later (6:54)

05.Almost Home (2:20)

06.In Between (6:31)

07.Being Away (7:14)

08.Thanks And See You Next Time (5:33).

Bernhard Lackner (bass)

Christian Stueckelschweiger (piano)

Scott Bernard (guitar)

Derico Watson (drums)

Adam Agati (guitar)

Doug Belote (drums)

Jeff Coffin (sax)

Scott Hallgren (keyboards)

Steve Cunningham (guitar)

Chester Thompson (drums)

De Marco Johnson (harmonica, keyboards)

Marcus Finnie (drums)

Mike Whittaker (keyboards)

Marco Minnemann (drums)

Mike Bauer (guitar)

Adam Holzman (keyboards).

About Bernhard Lackner
Nashville based Austrian electric Bassist Bernhard worked with artists including Mino Cinelu, Adam Holzman, Marco Minnemann, Horacio El Negro Hernandez, Adam Nitti, Trip Wamsley, Florian Bramböck, Steve Cunningham, Christian Wegscheider, Franz Hackl, Jeff Coffin, Derico Watson, Chester Thompson, performed for Red Bull at their Hangar 7 in Salzburg(Austria), at the Eurobassday(Italy), at the Outreach Jazzfestival(Austria), at the Noibassisti Bassfestival(Italy), at the BassUp! Event Atlanta(USA), at the NammBassBash(USA), at the National Guitar Workshop(USA), at Pasadena Bassday(USA), at the Groznjan Drumcamp(Croatia).. Bernhard also works as a clinician for "La Bella Strings", "Aguilar Amps", "Hemage Bass" and "Vovox Cables" and released 2 Albums under his own name.

Alain Caron - Caron - Eca - Lockwood (1996)

01.Gypsy 4:37

02.Country House 4:34

03.Le Blues des Trois 4:49

04.Romane 2:58

05.Apassionata 3:22

06.Options 5:09

07.Jimmy B-3 4:10

08.Take a Waltz 4:02

09.Good Luck Brother 4:09

10.Profil Perdu 2:44

11.Angelito 4:22

12.Gris Jour 4:02

13.Very First 4:05

14.Amusette 2:10

15.Sam Buca's Blues 4:41.

Jean Marie Ecay - Guitar

Alain Caron - Bass

Didier Lockwood - Violin, Violin (Electric).

The trio of bassist Alain Caron, guitarist Jean Marie Ecay, and violinist Didier Lockwood touches on several styles in this diverse CD. Caron's opener "Gypsy" sounds like an acoustic throwback to the era of Django Reinhardt and Stéphane Grappelli, though the CD makes a hard turn into jazz fusion with Lockwood's easygoing ballad that sounds much like what Jean-Luc Ponty was doing in the mid-'70s. Then Caron's funky "Jimmy B-3" takes them elsewhere, in a sassy tribute to organist Jimmy Smith. Ecay's lyrical "Take a Waltz" and the delicate"Gris Jour" are also highlights. Only "Amusette" is a bit of a disappointment, as the piece develops slowly, with lots of bland synthesizer behind it. ~ Ken Dryden, All Music Guide.

Roy Hargrove Big Band - Emergence (2009)

Velera

Ms. Garvey, Ms. Garvey

My Funny Valentine

Mambo for Roy

Requiem

September In the Rain

Every Time We Say Goodbye

La Puerta

Roy Allan

Tschpiso

Trust.

Roy Hargrove: leader, composer, arranger, trumpet, fluegelhorn, vocal

Frank Greene: trumpet and flugelhorn

Greg Gisbert, : trumpet and flugelhorn

Darren Barrett: trumpet and flugelhorn

Ambrose Akinmisure: trumpet and flugelhorn

Jason Jackson: trombone

Vincent Chandler: trombone

Saunders Sermons: trombone

Max Siegel: bass trombone, arranger

Bruce Williams: alto saxophone, flute; Justin Robinson: alto saxophone,flute

Norbert Stachel: tenor saxophone, flute

Keith Loftis: tenor saxophone, flute

Jason Marshall: baritone saxophone, flute, reeds

Gerald Clayton: piano, arranger

Saul Rubin: guitar

Danton Boller: bass

Montez Coleman: drums

Roberta Gambarini: vocals.

By
ROBERT J. ROBBINS,

Roy Hargrove: Emergence
As a trumpeter, composer, and an arranger, Roy Hargrove has been a mainstay of the contemporary music scene in a variety of formats for nearly two decades. Nevertheless, his big band experience has been limited mostly to his appearances with the Dizzy Gillespie All-Star Big Band, with which he has most ably proved himself an heir to the late trumpet legend's mantle. Hargrove has been steadily accumulating big band experience in his own right since 1995, however, and Emergence is therefore most aptly titled, for it represents Hargrove's full-fledged emergence into the large ensemble idiom.

While the tone poem "Requiem," by composer and trombonist Frank Lacy, was probably intended as the CD's tour de force, it's a major disappointment. After a most promising brass fanfare, with an arpeggiated woodwind countermelody reminiscent of Ravel's "Daphnis et Chloe," "Requiem" lapses into an eight-minute ostinato vamp under self-indulgent alto and trombone solos, accompanied only by the rhythm section. Eight minutes is an unusually long time for the full band to lay out, and Hargrove's own contribution is limited to a few brief exchanges with the trumpet section. The saving grace is the recapitulation of the opening tutti.

On the other hand, the remainder of Emergence exhibits Hargrove in full flight as captain of his 19-piece ensemble. Arrangements have been furnished by baritone saxophonist Jason Marshall (the hard-bopping "Ms. Garvey, Ms. Garvey"), bass trombonist Max Siegel (a Kentonesque interpretation of the Rodgers and Hart classic "My Funny Valentine"), the iconic Cuban pianist Jesuss "Chucho" Valdes ("Mambo for Roy"), and Hargrove himself.

"September In the Rain," which features Hargrove on both Harmon-muted trumpet and a mellow vocal, appears to have been arranged in a Basie-inspired vein by pianist Gerald Clayton. Clayton, in fact, is the son of composer, arranger, bassist, and co-leader John Clayton of Los Angeles' Clayton/Hamilton Jazz Orchestra, a major inspiration for Hargrove's aggregation. Vocalist Roberta Gambarini, Hargrove's erstwhile colleague with both the Gillespie band and jam sessions at NYC's Jazz Gallery, adds her velvet voice to Cole Porter's "Every Time We Say Goodbye" and the Spanish-language "La Puerta." On the latter track, she is reminiscent of Linda Ronstadt on her early-1990s Latino-jazz romp Frenesi (Elektra, 1992).

Hargrove also seems to have absorbed influences ranging from McCoy Tyner ("Tschipiso") to Gerald Wilson ("Roy Allan") and Billy Strayhorn ("Trust") in the band's full-voiced sonorities. Emergence definitely proves that Hargrove, 39 years old at the time of this recording, is ready to add his name to the list of large ensemble leaders.

The Roy Hargrove Quintet - Earfood (2008)

01.I'm Not So Sure 5:48

02.Brown 4:30

03.Strasbourg/St.Denis 4:38

04.Starmaker 7:54

05.Joy Is Sorry Unmasked 4:46

06.Stinger 4:57

07.Rouge 2:46

08.Mr. Clean 5:51

09.Style 6:35

10.Divine 5:10

11.To Wisdom The Prize 5:43

12.Speak Low 5:16

13.Bring It On Home To Me 3:00.

Roy Hargrove (trumpet, flugelhorn)

Justin Robinson (flute, alto saxophone)

Gerald Clayton (piano)

Danton Boller (bass instrument)

Montez Coleman (drum).

By
IAN PATTERSON,

The Roy Hargrove Quintet: Earfood
In the liner notes, trumpeter Roy Hargrove declares that Earfood was recorded to bring pleasure to the listener. This may seem like a superfluous statement, after all, which artist doesn't want to please the listening public? What Hargrove means, is that the aim of the game is to offer up catchy melodies with a minimum of unnecessary artistic baggage; tunes as opposed to ambience, sweet harmony in place of dissonance. There isn't a fractured rhythm within earshot, nor an obscure time signature, just unpretentious, good-time music.

Opening with pianist Cedar Walton's "I'm Not Sure," Hargrove and saxophonist Justin Robinson splice together Lee Morgan-type harmonies on the main theme, before Hargrove takes the first of several impressive solos with which he peppers the set. Robinson in turn picks up where Hargrove left off, followed by pianist Gerald Clayton and all unite on the head in classic old-school fashion. The up-tempo tunes mostly follow the same pattern.

Unapologetically, Hargrove's stated intention is to honor tradition, and the result at times is music which is overly familiar-sounding; the band do indeed sound like they know each other's moves inside out, and are comfortable with the well-trodden path of familiarity. This is not to take away from the excellent musicianship, for there is plenty to admire in this quintet, particularly from Hargrove and Robinson, it just makes for a rather slick and polished finished article.

Hargrove's voice comes from a long line of trumpeters from Dizzy Gillespie and Lee Morgan, to Miles and Marsalis and his command of the trumpet is complete; he demonstrates this control on the faster, boppish numbers, and a Wynton Marsalis-like tone on slower pieces like the lovely, self-penned "Joy is Sorrow Unmasked," an album highlight, which walks a delicate line between warm and blue.

Funking things up a tad on the late Weldon Irvine Jr's '70s classic "Mr. Clean," first Hargrove and then Robinson take fiery solos which seem to inspire Gerald Clayton to his most dynamic playing on the keys, while bassist Danton Boller and drummer Montez Coleman mark a steady groove. The song is crying out however, for some serious unleashing of the drums to take things to another level.

The track "Divine," pairs trumpet with piano in a mellow exchange over a subtle bass and brushes accompaniment, and the sparseness of the arrangement and economy of the playing contrasts pleasingly with all the brass harmonies, and head-solo-solo-solo-head which characterizes many of the tunes. It is a fine number, which showcases Hargrove's writing abilities. The Kurt Weil/Ogden Nash tune, "Speak Low" sounds like a coda to "Divine," and would have been the perfect closer to the disc. As it is, Earfood closes out with a soulful, buoyant, live rendition of Sam Cooke's "Bring it On Home To Me" which takes off from the first bar; Hargrove blows briefly in lively manner, and you'd expect some serious closing remarks from all, but alas, the tune parks itself just a little too soon.

Tito Puente - Salsa Meets Jazz (1988)

01.Corner Pocket

02.Salsa Caliente

03.Consternation

04.Pannonica

05.Carioca

06.Guajira Soul

07.Repetition

08.Carinoso

09.Con Alma.

Tito Puente (vibraphone, marimba, timbales, percussion)

Phil Woods (alto saxophone)

Mario Rivera (tenor saxophone, flute)

Piro Rodriguez, Bill Ortiz (trumpet, flugelhorn)

Joe De Jesus (trombone)

Sonny Bravo (piano)

Rebecca Mauleon (synthesizer)

Bobby Rodriguez (bass)

Johnny Rodriguez (bongos)

Jose Madera (congas)

Frank Figueroa,Jose Alexis Diaz (background vocals).

For this particular Tito Puente recording, his exciting three-horn, three-percussion Latin jazz octet (which includes longtime saxophone soloist Mario Rivera) is joined by alto great Phil Woods on three of the eight selections, including Thelonious Monk's "Pannonica" and "Repetition." Such songs as "Corner Pocket," "Carioca" and Dizzy Gillespie's "Con Alma" sound perfectly natural in this Afro-Cuban jazz setting, and Puente (well featured on vibes and timbales) is responsible for two originals and seven of the nine arrangements. The music is danceable, adventurous and quite fun. ~ Scott Yanow

Recorded at Coast Recorders, San Francisco, California in January 1988. Includes liner notes by Hugh Wyatt.

United Jazz+Rock Ensemble - Live In Berlin (1981)

01.Ausgeschlafen (Dauner)

02.Red Room (Mariano)

03.Storyboard (Kriegel)

04.Out Of The Long Dark (Carr)

05.Freibad Süd (Kriegel)

06.Des'sch Too Much (Mangelsdorff)

07.Simply this (Carr)

08.Tranz Tanz (Dauner)

09.South Indian Line (Mariano).

Barbara Thompson; fl,ss, ts

Ian Carr; tp

Wolfgang Dauner; p, cl, synth

Jon Hiseman, dr

Volker Kriegel, gt

Albert Mangeldsorff; tb

Charlie Mariano; nagaswaran, ss, as

Ack van Rooyen; tp, flgh

Eberhard Weber; b.

Recorded live in Berlin, Germany, on October 30 & 31, 1981 at Quartier Latin by Tonstudio Zuckerfabrik, Stuttgart.

The United Jazz + Rock Ensemble - Teamwork (1978)

01.Gone With The Weed (Ian Carr) 5:24

02.Stumbling Henry's Divorce March (Volker Kriegel) 7:16

03.Sicilian Steal (Barbara Thompson) 6:54

04.Pale Smile (Eberhard Weber) 4:00

05.Albert's Song (Albert Mangelsdorff) 0:10

06.Yin (Wolfgang Dauner) 5:38

07.To An Elfin Princess (Charlie Mariano) 5:38

08.Wart G'schwind (Albert Mangelsdorff) 9:05.

Ian Carr – trumpet

Ack van Rooyen – trumpet, flugelhorn

Charlie Mariano – soprano & alto saxophones

Barbara Thompson – soprano & tenor saxophones

Albert Mangelsdorff – trombone

Wolfgang Dauner – piano, synthesizer

Volker Kriegel – guitar

Eberhard Weber – bass

Jon Hiseman – drums.

Recorded January 13-16, 1978 by Gibbs Platen at Tonstudio Zuckerfabrik, Stuttgart, Germany.

Featuring some of the finest avant-garde jazz players from Germany and beyond, the United Jazz + Rock Ensemble began life as a loose studio aggregation assembled for a youth-oriented German television show in 1975. Hoping for a contemporary balance between rock and jazz, producer Werner Schretzmeier called upon pianist Wolfgang Dauner, the former leader of Et Cetera, an avant-garde jazz group Schretzmeier had managed until their breakup in 1972. Initially recruiting musicians from his home base of Stuttgart (then a hotbed of avant-garde jazz), Dauner put together a rotating cast of musicians that were at first dubbed the Eleven and a Half Ensemble (after the program's airtime); this group featured guitarist Volker Kriegel (who shared writing and arranging duties with Dauner), drummer Jon Hiseman, trumpeter Ack Van Rooyen, and trombonist Albert Mangelsdorff. As demand for recordings and public performances grew, Dauner solidified the lineup with saxophonist Charlie Mariano, saxophonist/flutist Barbara Thompson, trumpeter Ian Carr, and bassist Eberhard Weber. This nine-piece aggregation recorded the first album under the United Jazz + Rock Ensemble name, Live im Schutzenhaus, in 1977; released on the group's own Mood Records label, the album was a hit, eventually becoming the best-selling German jazz record of all time.

The Ensemble recorded and toured fairly regularly after the success of Live im Schutzenhaus; 1978's Teamwork and 1979's The Break Even Point placed the group in a studio setting, with the latter featuring trumpeter Kenny Wheeler. 1981's double-LP Live in Berlin was another success, and was followed by United Live Opus Sechs in 1984, with Wheeler back in tow. On 1987's studio album Round Seven, trumpeter Johannes Faber filled in for Wheeler; Wheeler returned once again for the 1992 studio set Na Endlich!, which also featured new bassist Dave King. Mariano was subsequently replaced by tenor saxophonist Christof Lauer, who made his recorded debut on the 1996 concert album Die Neunte von United. In 2002, after well over two decades together, the group announced that it was embarking on a farewell tour, after which its members would move on to other projects (possibly collaborative).
By Steve Huey. AMG.

Victor Bailey - Slippin' N' Trippin' (2010)

01.Ape School 02:11

02.Slippin' N' Trippin'07:07

03.I Wonder 05:11

04.Countdown 02:26

05.Alfie 04:22

06.Like A Horn 05:38

07.If You Say So 05:22

08.Slippin' N' Trippin' Part 2 01:58

09.Lucky Punch 06:49.

Manolo Badrena - Percussion

Victor Bailey - Bass, Drums, Fretless Bass, Keyboards, Percussion, Scat, Vocals

Ron Carter - Bass (Acoustic)

Mino Cinely - Drums, Percussion

Billy Cobham - Drums

Omar Hakim - Drums

Peter Horvath - Fender Rhodes, Piano, Soloist

Dave Kikoski - Piano

Lenny White - Drums.

Bassist Victor Bailey returns with his strongest and most consistent effort to date,titled Slippin’ N’ Trippin’. Bailey states: “On this record I wanted to feature more of my bass guitar than on my other cd’s. I’m also a versatile keyboardist,vocalize a little, and play a little drums too”.

As usual Bailey serves up a variety of great feels,grooves and of course incredible bass playing. Standouts include the opener “Ape School” with some innovative slapping and tapping over a surprising supple dance/funk feel. We follow that up with the title track “Slippin’ N’ Trippin’, with a shockingly strong vocal performance by Bailey and a great drum track by the legendary Billy Cobham. Next is an incredible rendition of John Coltrane’s Countdown, featuring Ron Carter on acoustic bass.

Then he slows things down with his lovely ballad “I Wonder”, and displays exceptional arranging skills on the classic song Alfie, featuring a rare performance on fretless bass. He puts in a fine vocal performance on “Like A Horn” featuring some of the best bebop bass playing ever heard anywhere. Included is an innovative rendition of the Prince classic “Kiss” recorded with all bass guitars. We get a little gospel feel with “If You Say So” and finish off with the classic funk/fusion jam “Lucky Punch” featuring an amazing drum solo by Bailey’s former Weather Report bandmate Omar Hakim. With names like Hakim, Cobham, Lenny White and Ron Carter you can be sure this is music of the highest order.

Vic Juris - A Second Look (2005)

A Second Look

Barney K

So In Love

All the Things You Are

Shades of Jazz

Very Early

Little Brian

Table for One

Dizzy, Trane and You

Indian Summer.

Vic Juris - guitar

Dave Jay Anderson - bass

Tim Horner - drums

Dave Liebman - saxophone

Kate Baker - vocals.

By
JOHN KELMAN.

Vic Juris: A Second Look
Some performers, like a boxer at the sound of the bell, storm out with something to prove. Musical assertiveness can be a good thing; certainly harmonic knowledge, physical dexterity, and stamina are all meaningful attributes of any good player. But in contrast to those who feel the need to place these elements on immediate display are others more relaxed about their abilities and, perhaps, more concerned with the deeper meaning of a composition, something that demands a certain surrender of ego. They may provide a hint here and there of their formidable abilities, but their true skill lies in subsuming their talents in service of the song.

Guitarist Vic Juris is one such player. A contemporary of all the usual suspects in contemporary jazz guitar—Scofield, Metheny, Frisell, Abercrombie—Juris has proven, over the course of thirty years and recordings with artists as diverse as saxophonist Dave Liebman, vibraphonist Joe Locke, and singer Mel Tormé, to be a flexible player with a broad stylistic reach. But, curiously, while he's a known entity in musician circles, he's never reached the level of popularity of his contemporaries. His latest disc, A Second Look, may not do anything to change that situation, but it should.

An unhurried player who develops his solos with care, still conveying a completely spontaneous feeling, Juris might be most easily paralleled, at least superficially, with Pat Metheny's more mainstream efforts. Like Metheny, his electric tone is warm and full-bodied, with more than a little reverb to fatten up the sound; also, like Metheny, he's equally apt to employ a steel-string acoustic or classical guitar. He even shares an interest in Latin music, adding Kate Baker's wordless vocals to the Brazilian-informed "Table for One."

But there the similarities end. Metheny has a whole musical language that he's developed over the course of the same number of years as Juris, and is unmistakable for it—in some ways, though, his signatures have almost become his albatross, with listener expectation more a demand to hear them. Juris has his own predilections, to be sure, but in many ways, by not being constrained by the shackles of popularity like Metheny is, he's freer to pursue his muse unencumbered.

Whether on his own compositions, like the up-tempo swinger "Dizzy, Trane and You" and the bossa-informed "Barney K," or imaginative reworkings of standards like "All the Things You Are," with its classical guitar and radically reduced tempo and harmonic reworking, Juris never loses sight of a song's essence. And his choice of bandmates is equally astute. Bassist Jay Anderson and drummer Tim Horner are sympathetic foils and strong yet understated soloists; while Dave Liebman is typically thought of as a more outgoing player, he's equally capable of delicate subtlety, as on "All the Things You Are."

A Second Look, like last year's Blue Horizon, continues to assert Juris' considerable talents in a less-is-more context. To hear someone who is almost insidiously pushing the boundaries of jazz guitar, one need look no further.

Vic Juris - Blue Horizon (2004)

Dancing Shadows

Soft Spoken

Labyrinth

Kling On

Uphill

Gojo Duo

Sunset on Vega

Domo Duo

The Spanish Horse

889

Vjay Duo

Blue Horizon

I've Heard That Song Before.

Vic Juris - electric and acoustic guitar

Joe Locke - vibes, marimba

Jay Anderson - bass, producer

Adam Nussbaum - drums - Jamey Haddad - percussion

Kate Baker - vocals.

By
JOHN KELMAN.

Vic Juris: Blue Horizon
Sometimes you put on a disc and from the first note you know it's the real thing; honest, direct and completely unassuming, it resonates instantly. Such is the case with guitarist Vic Juris' new release, Blue Horizon. While there are certain precedents for what he does, he has a sound and approach all his own—and while he may not be the household name that some of his immediate contemporaries are, it is completely mystifying as to why this is so.

With a lineup that prominently features vibraphonist Joe Locke as well as bassist Jay Anderson, drummer Adam Nussbaum, and percussionist Jamey Haddad, Juris has created an album that manages to challenge without losing any of its accessibility. Like Pat Metheny, Juris shares the uncanny ability to take advanced harmonic concepts and mask them in deceptively simple sounding contexts. And the inclusion of Locke draws the line even further back to Metheny's first employer, Gary Burton, and his guitar-centric groups of the '60s and '70s. Still, while there is a certain lineage to Juris' music, he manages to imbue it with something indescribably him and completely modern.

Juris may have a warm electric tone that harkens to Metheny, but harmonically he is more directly related to John Abercrombie, with melodies that manage to be both singable and unpredictable. His formidable technique is evidenced only by the richness of his ideas; he is as economical as he is inventive. From the Brazilian-informed "Dancing Shadows" to the acoustic ballad "Soft Spoken," from the angular melody of "Kling On" to the more straightforward swing of "889," Juris is exciting, imaginative and, above all, lyrical. The best players manage to eschew predisposition, making each solo a unique experience, and Juris is clearly in that league.

Locke is, quite simply, the purist vibraphonist out there and, along with Stefon Harris and Steve Nelson, one of a small group of players who are truly developing the instrument's potential. His solos have that same sense of logical perfection so prevalent in Gary Burton's best work. John Abercrombie recently described Adam Nussbaum as "one of the most comfortable drummers in the world to play with—you can play anything with him and it all works because he's so adaptable and he swings so hard." On this record he continues to demonstrate why he remains in such high demand. Bassist Jay Anderson provides the perfect anchor and Jamey Haddad manages to colour the rhythm without getting in the way of the essential groove.

What is puzzling is how Juris, along with Locke and Nussbaum, can be musicians' musicians, high on the list for session and touring calls, yet eluding more widespread acclaim. On the strength of Blue Horizon , clearly in the running for this year's top ten list, it is the larger jazz public who is missing out. Anyone who hears this recording will know that this is what it's all about.

Tito Puente - Mambo King,100th Album (1991)

01.Hay Que Trabajar

02.Envuelvete Conmigo

03.Dejame Sonar

04.Salsumba

05.Celia Y Tito

06.Nuestro Amor

07.El Bribon Del Aguacero

08.Son Con Son

09.Bolero Medley:Tus Ojos/Mirame Mas/Ay Carino

10.El #100.

Tito Puente - Out of This World (1991)

01.Descarga (Tito Puente)

02.In Walked Bud (Thelonious Monk)

03.Sweet Georgia Brown (Ben Bernie-Kenneth Casey-Maceo Pinkard)

04.Amanecer Guajira (Tito Puente)

05.'S Wonderful (George Gershwin-Ira Gershwin)

06.Luck Dog (Tito Puente)

07.Out of This World (Johhny Mercer-Harold Arlen)

08.Along Came Betty (Benny Golson).

09.Latin Percussion Summit (Tito Puente).

Tito Puente - vibes, timbales

Sonny Bravo - piano

Jose Madera - congas, percussion

Mario Rivera - tenor sax., flute, melodica

Bobby Rodriguez - trumpet, flugelhorn

John "Dandy" Rodriguez - bongo's, percussion

Jose "Papo" Rodriguez - chekere, bongos

Charles Sepulveda - trumpet, flugelhorn

Michael Turre - baritone sax., flute

Papo Vazquez - trombone.

Recorded at Coast Recorders, San Francisco, CA; December 1990.

Review
by Scott Yanow

The music on Out of This World is consistently exciting, a very winning blend of bop-oriented jazz and Latin rhythms. Among the key players are trumpeter Charlie Sepulveda, trombonist Papo Vazquez, Mario Rivera on tenor, and no less than four Rodriguezes (bassist Bobby, trumpeter Piro, John on bongos, and Jose on chekere). Among the most memorable performances are Thelonious Monk's "In Walked Bud," a Latinized "'S Wonderful," "Descarga," "Amanecer Guajira," and "Latin Percussion Summit." Highly recommended and probably the most rewarding in Tito Puente's long string of Concord Picante recordings.

Steve Berrios & Son Bacheche - And Then Some! (1996)

01-Son Bachéche

02-Leri Eyo

03-Al Mundo de los Recuerdos

04-Bemsha Swing

05-Chamalongo

06-Blues for Sarka

07-Un Ecobio

08-With the Sweetness/Fire & Brimstone

09-Mojiganga

10-Homenaje a un Trovador (Un Mono No Para un Show/Prostitución)

11-Uncle Toms.

Steve Berrios-(vocals, drums, timpani, percussion)

Eric Tunison-(drums)

Jim Cummings-(drums)

Eddie Bobe-(vocals)

Joe Ford-(soprano saxophone)

Wayne Wallace-(trombone)

Edgardo Miranda-(cuatro)

George Mraz, Ruben Rodriquez-(bass)

David Barrick-(percussion)

Elisabeth Monder-(coro)

Julio Collazo, Pedro Morejon-(vocals)

Luke Würmli-(harmonica, vocals (background).

Steve Berrios (24 February 1945) is a jazz drummer and percussionist born in New York, New York. He began playing the trumpet, but not known by the instrument. It is often done in the middle of Afro-Cuban jazz, having done courses with Pucho & His Latin Soul Brothers, Joe Panama and Mongo Santamaria. He has also worked with artists from other streams through jazz, like Kenny Kirkland and Art Blakey, among many others.

Second percussionist Steve Berrios Afro-Cuban/jazz output as a leader finds him exploring a variety of sources and modes of an intriguing parts, rhythmic duet (with soprano sax) on "Bemsha Swing Monk," the Latin swing and hot brass voicings of "Tribute to a Troubadour." From the opening notes of the conference, and even allowing some mixing of sound is amazing how wonderfully full and complex music that occurs in these small groups. Too often, "Latin jazz" is not particularly well or gender. Berrios, shows that in the right hands, start with the best of both worlds, and takes flight. ~ Janet Rosen, All Music Guide.

Steve Berrios and Son Bacheche - First World (1995)

01-Mafranbingo

02-La Buena Noche Mi Ngo

03-Once I Loved

04-El Niño Rey

05-Talkin' to Myself

06-Iremowire

07-Uranus

08-Brushin' It

09-Once in a While

10-Alamofije

11-Déjà Voodoo

12-Dale

13-Lonely Woman/Acolona

14-Wild Is the Wind

15-Son Bachéche.

Steve Berrios-Arranger, Guaga, Tumbadora, Shekere, Guataca, Coro, Conga, Drums

Julio Collazo-Conga, Iya, Vocals, Shekere

Joe Ford-Arranger, Sax (Alto)

Larry Willis-Piano

Edgardo Miranda-Guitar (Acoustic)

George Mraz-Bass

Angel Papo Vasquez-Trombone

Grover Washington, Jr.-Sax (Soprano)

Eddie Bobe-Vocals, Okonkolo, Salidor, Shekere, Coro

Peter Brainin-Sax (Soprano), Sax (Tenor)

Elisabeth Monder-Coro

Pedro Morejon-Vocals

Freddy Cole-Vocals

John Benítez-Bass.

A pillar of veterans with Mongo Santamaria, M'Boom, and the Fort Apache Band, first solo album by Steve Berrios believes that the continuation-49-year-old drummer-percussionist trying to regain lost ground with a vengeance, launching a amazing variety of languages ​​in the listener and proving to be a master of them all. "Mafranbingo" throws listeners a curve Berrios misleading from the outset with a certain base of the pyramid straight drive, but the next track, "La Noche Buena My NGO" - Spanish Voice in African percussion - sets the direction for Afro-Latin most of the recording. Berrios is not too shy about taking the spotlight to himself, "Talkin 'to Myself" has a spectacular drum solo with drum roll and gongs, along with the usual drums, and "Brushin' It" it is conducting a brief but more inventive with brushes only three drums spread across the stereo spectrum. Even some notable works muted trumpet on "Wild Is the Wind." The only sidetrip Brazil, Jobim "Once I Loved," features the singer Freddy Cole and phrasing sound much like an old Nat King Cole could have - and very compulsory soprano sax Grover Washington. "Iremowire" and "Alamofije" are pure rock and Afro-Cuban numbers call response Julito Collazo Cuban singer doing what was apparently his first recorded appearance in two decades trade. The trumpeter Eddie Henderson, tenor saxophonist Peter Brainin, and a player of high Joe Ford can be heard on "Uranus" and a density of texture, loss of sound fusion of "Ornette Coleman's Lonely Woman," and a prayer Yoruba old "Acolona. "All an end, but experience makes Berrios join. ~ Richard S. Ginelle, All Music Guide.

Ian Carr's Nucleus - Awakening (1980)

01.Awakening 10:05

02.Midnight Oil 6:25

03.Mutatis Mutandis 5:40

04.White City Blues 7:00

05.Thing Past 10:00

06.You Can't Be Serious / You Must Be Joking 6:10.

Ian Carr - Trumpet, Flugelhorn

Chucho Merchan - Bass [Bass Guitar]

Geoff Castle - Electric Piano [Fender Rhodes], Electric Piano, Synthesizer [Mini Moog, Korg Polysynthesizer]

Nic France - Drums, Percussion

Brian Smith - Saxophone [Tenor, Soprano], Percussion.

Formed in 1969 by the late trumpeter and flugelhornist Ian Carr, Nucleus aka Ian Carr's Nucleus was among the very first groups to fuse rock and jazz from the jazz perspective. The band was regarded as one of the most technically brilliant jazz rock/fusion bands in the world. Ian had played for ten years, first in the EmCee Five (which included the brilliant guitarist, John McLaughlin) and then in the Rendell-Carr Group, which released five albums prior to 1969. "Awakening" is recommended to lovers of all jazzrock/fusion fans, and also to those who enjoy good Canterbury Rock style bands like Soft Machine, or Matching Mole. Search this blog for other Ian Carr/Nucleus releases.

Nucleus - Direct Hits (1976)

1.Song for the Bearded Lady (Jenkins)

2.Crude Blues Part One (Carr/Jenkins)

3.Crude Blues Part Two (Carr)

4.Suspension (Carr)

5.Torso (Carr)

6.Bull Dance (Carr)

7.A Taste of Sarsaparilla (Carr)

8.Sarsaparilla (Carr)

9.Roots (Carr).

Ian Carr / trumpet, flugelhorn

Allan Holdsworth, Chris Spedding, Ken Shaw, Jocelyn Pitchen / guitar

Roger Sutton, Ron Matthewson, Jeff Clyne, Roy Babbington / bass

Dave Macrae, Gordon Beck / electric piano

Karl Jenkins / keyboards, saxophones

Tony Levin, John Marshall, Clive Thacker, Bryan Spring / drums

Chris Karan, Trevor Tomkins, Aureo DeSouza / percussion

Brian Smith / Tenor & Soprano Saxophone, Alto & Bamboo flute

Bob Bertles / saxophone

Kenny Wheeler / trumpet

Tony Roberts, Tony Coe / wind

Norma Winstone / vocals.

Formed in 1969 by the late trumpeter and flugelhornist Ian Carr, Nucleus aka Ian Carr's Nucleus was among the very first groups to fuse rock and jazz from the jazz perspective. The band was regarded as one of the most technically brilliant jazz rock/fusion bands in the world. Ian had played for ten years, first in the EmCee Five (which included the brilliant guitarist, John McLaughlin) and then in the Rendell-Carr Group, which released five albums prior to 1969. "Direct Hits", a retrospective of key Nucleus recordings from key albums such as Elastic Rock, Belladonna and Solar Plexus, is recommended to lovers of all jazzrock/fusion fans, and also to those who enjoy good Canterbury Rock style bands like Soft Machine, or Matching Mole.